Orchestral instrument



y 5, 1933. H. LUEDTKE 1,919,849

ORCHE STRAL I NS TRUMENT Filed Dec. 4, 1951 4 Sheets-Sheet l July 25, 1933. H. LUEDTKE ORCHESTRAL INSTRIjMENT Filed Dec. 4, 1931 4 Sheets-Sheet 2 9 A f. E 8 I: 0 M as "W Liu M E? f 1 D I I a a ,af,d ,a "a

5, 1933. H. LUEDTKE 1,919,849

ORCHESTRAL INSTRUMENT Filed Dec. 4, 1951 4 Sheets-Sheet a ORCHE S TRAL INSTRUMENT Filed Dec. 4, 1931 4 Sheets-Sheet 4 /n venfor:

Patented July 25, 1933 UNITED STATES HANS LUEDTKE, OF BERLIN-TEMPELHOF, GERMANY ORCHESTRAL INSTRUMENT Application filed December 4, 1931, Serial No.

This invention relates to an orchestral instrument with one or more keyboards,-'the new feature of which is that when touching several keys of an organ-like keyboard,

-, different sound characters can be played simultaneously for each key.

This instrument has the advantage that, for example, the ten-keyed'touch of a player on a single keyboard produces ten dili'erent tone colours separate from one another, and that the player can freely alter each tone colour while playing by means of tree switches.

In organ-like playing and registration there has hitherto been only the following "fundamental rule: If, for example, three tones are played on the same organ inanual, and if, at the same time, the flute stop drawn, three tones of the same sound. character, namely, flute-are produced so that all the three tones belong to a connnon sound producing plane.

If the organist wishes to play three cilterent sound characters, such as, for instance, oboe, violin and flute quite independently, he must play with two hands on three manuals.

According to the present invention the organist must be able to play any desired number of sound characters independently one another on a single keyboard. The tollowing cases which are already known in organ playing do not afi' ect the present invention.

The double touch with its deeper second touch corresponds to a second manual lying below the normal keyboard. lVith the double touch it is only possible to add two tone colours or strengths of tone and not to 4.0 differentiate them.

(1)) Organ stops of great compass are, it is true, subject to a gradual. change in the construction of the pipes and in the tone colour in the course of their series of pipes,

but this change is rigidly fixed by the or 'azi builder so that an organist cannot play at once two neighbouring tones with different sound characters.

(o) Treble couplers or bass couplers or ll-ll similar arrangements in or ans do not allow 579,085, and in Germany December 16, 1930.

of a free sound separation of adjacent tones. In treble couplers only an octave of the highest tone played on one manual is congled over from another manual.

1n bass couplers the same applies to the lowest tone played. It both couplers are used there is a difference between the bass tone, the middle parts, and the treble tone, but-there is no complete separation of sound.

In the accompanying drawings the invention is illustrated diagrammatically in one constructional example.

Fig. 1 shows how the depression of three keys on a keyboard causes production of 'ound in three different sound planes.

F 2 shows how one of two tones played together on a keyboard is produced in only one sound plane while the other is produced simultaneously in two planes.

F 3 shows how fixed stages prepared for dill "out sound devices are established, and

Fig. lshows a diagrammatical View of the istrument.

1. Sound medium The following come within the scope of the new instrument.

(a) All the sound media known in organ playing such as can be released electrically by means of wind chests with pipes, reeds, noise effects, and the like.

(F2) Sounds produced radio-electrically or optic electrically with an indirect electrical method of playing and registration.

(0) Separate sounds on films, disc records or magnets as well as series of microphones which are employed for kinematographic recording of such sounds as long as this can be played and the registration efiect indirectly by electric means. 90 Electrical playing and drawing of stops The nature of electrical-keyboard operation and electrical registration aids and the like with all variations of the system is generally known in organ building.

3. Key, key board, registration aids, console works In order to produce a sound by pressing a key, at a definite pitch and with definite rela sound character, as in modern organs, the organist must have a console which is connected by electrical cables with the source of sound, the works. The console has one or more keyboards with their keys and all the necessary registration aids.

4. Sound producing plane, abbreviated sound plane This name will be applied in connection with the new instrument to every union of sound devices (see below) which is able to produce a tone of definite sound character.

The following have to be achieved by means of the technical means under 1-4.

Sound separation (Fig. 1)

' aration with three keys or three tones a, f,

d, which are played on one keyboard but are required to operate on three different sound planes indicated with I, II and III. Further tones could be simultaneously played in the sound plane IV and in any number of other sound planes.

For each sound plane as many relay connections are provided as there are keys on the keyboard. The mode of operation of the relay connections can be seen in Fig. 1, sound plane II above the key 7'. The same reference letters are to be assumed for all connections.

I the instrument is not played, all contacts A, J, L as well as the contacts M and N of the relays have a voltage applied.

)Vhen, on the other hand, the instrument is played, that is when a key is pressed, the current flows from B to G in the following manner for the tone a played:

'The current flows from B through the contact A of the relay belonging to the key a in the sound plane I, and from there through the coil S of this relay and the contact of the key a to C.

Owing to the electromagnetic action, the

armature of therelay shoots up and connects J with K but interru ts the connection A-L and that from M T whereby:

(1) All the relays of the sound plane I for sounds deeper than a are without current further (2) All the other coils S which connect the key a with the other sound planes are without current and (3) The current from B flows through K in sound plane I, which is short circulated with JD, that is, to the various sound devices of the sound plane I.

If in addition to the key a a lower key,

for example, 7 is pressed simultaneously, the above process applies for a.

In addition the same process is repeated for f as the second tone played which will therefore only be connected with a single attracted and the connection described for the sound plane I is now repeated for the tone f in sound plane II. This process can be arranged for any desired number of tones or sound planes.

Sound plane coupling (Fig. Q)

The term sound plane coupling designates a special method of employing the sound separation. For, contrary to Fig. 1, by a different construction of the relay and a different manner of conducting the current several sound planes can be operated simultaneously by means oi one key with any desired difference from the other keys. This gives a new kind of coupling in organ technique. Fig. 2 shows an example of this.

Fig. 2 shows that when the key a is de pressed, the sound plane I is operated, while, when the keys a and f are depressed simultaneously, the upper key a operates on the sound plane I and the lower on the sound planes 1 and II simultaneously. When three keys are depressed, the uppermost key a operates the sound plane I, the middle key I, the sound planes I and II and the lowest key d sound planes I, II and III.

The mode of operation for Fig. 2 is as follows:

When the key a is depressed, the current flows through both relay coils S, O of sound plane I. The relay armatures are attracted and break the connection:

(1) From AL so that all the coils of the lower keys of the sound plane I are without current and (2) From M-N so that all the coils S of the other sound planes beginning at II are without current.

On the other hand J is short circuited with K so that current flows from B through J K, D to the sound devices Fig. 3.

If in addition to the key a the key 7" is also depressed, current flows through the coil S of the sound plane I for f also and also through the coil S of the sound plane II through M, N of the sound plane I. For sound plane II, however, the process is exactly the same as for tone a in sound plane I. Consequently f sounds in sound planes I and II, but a only in sound plane I.

Lil/- 'Fig. 2 show s also "blank. switch in the position of restowhich locks the contacts J and K so that 'it' can occupy an existing sound plane without, however, being able to release its sound device.

Any number of blank swltches 2 may be provided, asis the case with the sound keys.

The sequence'between the two may be mixed devices but does not sound. The third key from the top, f, sounds in the sound planes I,'.II and III. The fourth key from the top being a blank switch '5 only operates the blocking members and does not sound. The fifth key from the top being a blank switch 2' only operates the blocking organs and does not sound. The sixth key cl sounds in sound planes I IV.

Abovethe highest tone a, three blank switches i may also be employed so that the sound planes I, II and III are occupied and "the chord a, f, cl would sound as follows:

a as the highest key sounds in sound planes IIV. f" as the second key sounds in sound planes IV, and (l as the third key-soundsin soundplanes IVI. By such variations in the conduction oftthe current, various kinds of couplings are conceivable, of which Fig. 2. only shows a constructional example.

The sound separation-or sound coupling described above is to be combined according "tothe new process with a registration systhis co-operation can be explained with ref-- temoperatingsimultaneously. In order that erence to Figs. 3 and At, the following expressions must first be explained:

5. Sound (lebice .Eacli sound plane hasa number of sound devices,the combined action of which determined its sound character at any moment. Only the simultaneous combined action of the sound devices in the various sound planes produces the sound of'the complete action.

A single sound device would be, for example,the sound scale of a flute series of organ pipes, generally called flute stop. Other sound devices are, for example, the

swell box of an organ, a tremulent, a coupler,

an adjustable radio condenser, a radio pot-entiometer, or ;apotent1ometer used with a sound. record on a film, and the like.

6. Contact scale This term is applied to each combination of electrical contacts which is provided at any time for a sound device. I

A sound device such as an organ, flute stop has, for example, the contact scale: .onolf; a sound device tremulent, for example, slow, medium, rapid; a sound device potentiometer or swell box, for example, stages 110 or a gradually sliding scale;

a sound device registration cylinder addition of an organ, for example, 20 or 3 steps.

In this case it is immaterial whether the separate steps of these contact scales refer to a progressive addition or to a mutually releasing change.

'7. Fixed stage This indicates the contact stage, to which the contact scale of a sound device is adjusted in each case.

A sound device such asthe flute stop, for example, can only be either on or oil; a sound device such as the swell box wi h 10 stages can have only one of these, for example, the stage 6 switched on so that in this case stages l6 would be operative.

8. Total constellation This indicates a simultaneous complete preparation of fixed stages for all the desired sound devices which can be obtained by means of a trigger or a button or the like. It is immaterial whether they fixed stages are provided by the builder in the action, or are only prepared by the player. Several such total constellations, of course with diifercnt contents, must run parallel to one another and mutually release one anotli er in a manner known in organ building. Accordingly, such a total constellation is analogous to the nature of a fixed or freely adjustable organ combination. There are, however, the following dill'erences:

(a) The idea of the total constellation is not regarded as new in itself, but the cooperation of sound separation and the simultaneously prepared reg stration aids.

(b) The organ combination applies a rule to all the manuals or keyboards once,

and at least have a whole orgzni manual. The total constellation according to the invention applies also to the relation of adjacent chord tones within a single keyboard.

(0) In organ building not all sound devices are completely fixed even when they are prepared in a fixed or freely adjustable combination.

In an organ with two or three swell boxes, for example, the swell boxes tlieinmlJe-e, are never included; in the combination. It is a feature of a total constellation, however. that in each case all the desired sound devices without exception are prepared in fixed stages. In an action with three swell boxes, a fixed stage should accordingly be provided in a total constellation for each swell box (Figs. 3 and 4).

The following effects are to be obtained with the technical means described under 58.

Simultane'ity of registration (Figs. 3 and 4) The sound separation is connected with a simultaneity of registration for all existing sound planes, which is effected in any desired number of total constellations which are mutually releasable by means of prepared fixed stages. Fig. 3 shows as an example two total constellations P and Q. For constellation P all the fixed stages can be switched on simultaneously by means of the press button T. For constellation Q, the switching on is effected from press button U. The two press buttons T and U can be mutually released in a known manner by means of the contact Z.

According to Fig. 3, constellation P is switched on and shows, as prepared in sound plane I, tone a:

Sound device 4' Uf. (abbreviation for organ stop unit fiute l) Sound device 16' U0. (abbreviation for organ stop unit oboe 16) Sound device WV (W means well box), on fixed stage 3 of its contact scale.

In the other sound planes of constellation P further sound devices are to be imagined as prepared on other fixed stages which are not shown in Fig. 3.

After the preparation which is efi'ected either by the builder or by the player, the press button T is pressed and thereby the total constellation P is switched on. In a similar manner the Various fixed stages are also to be imagined as prepared in constellation Q of. Fig. 3 for all sound planes.

As the player previously released the constellation P by means oi. the buttonT he can now, by means of the button U, release simultaneously all the fixed stages of the constellation Q while P disappears. Consequently any desired change between any desired number of constellations with any desired contents for each sound plane can be constantly effected while playing.

Diag'ravnmat'ic general view (F ig. .4)

The example according to Fig. 4 shows a diagrammatic general view. By the selection of the sound media chosen here, it is only intended to demonstrate the difference of the possible contents without bringing up any musical problems.

Two constellations P and Q, are assumed to have been prepared for three sound planes which is most clearly shown in tabular form. The abbreviations in Fig. 4 mean the following:

Wi I :Wind-chest for organ-pipes in sound plane I Ra II :Itadio-electrophone in sound plane II Li II I:-S0und-on-film fixing series of sounds in sound plane III,

Th. :Pitch of tone,

W:Number 1 to 4 swell-box stations,

F r I, Fr II, Fr III :Free switches (see below) 4' Uf :Unit flute 4' (organ stop),

16' Uf :Unit flute 16' (organ stop),

8' U0 :Unit oboe 8' (organ stop) 16' UoUnit oboe 16 (organ sto W 7 tremolo, (organ sound device) x :on (switched on) 2 :-Mutual release between U and T.

Dk II :Adjustable condenser for changing the tone-colour line of an electrophone.

Fo II :Potentiometer for changing the streggth of tone of an electrophone.

z III :Distortion scale of a sound-onfilm ap aratus.

Ap II:Amplitude scale of a soundon-film apparatus.

Consequently, Fig. 4 shows the following:

Sound Fixed stage Fixed stage Type of devices Contents of sound assumed the contact ciilsteua' in 1 media to be scale ,2 t

existent Q Wi I 4 U! On/ofi 0n Lacking Sound plane I 16 U! On/ofi Lacking On Key a 8 U0 On/ofl Lacking On 16 U0 On/ofl On Lacking Wl-Wfi Stages 1-6 Fixed stage 3 Fixed stage 4 Ra II Dk II 5 stages Fixed stage 4 Fixed stage 3 SoundplaneII Po II 5 stages Fixed stage 2 Fixed stage 5 Key i Li III VZ III 5 stages Fixed stage 5 Fixed stage 2 Sound plane K III Ap III Sliding scale 1st quarter 3rd quarter Free switches F1- (Figs. 3 mid 4) The free switches F1. I, Fr. II and Fr. III in Fig. 4 with the points (not shown) of the conductor R and their buttons 91: (on) and y (ofli') represent the separate playing media, which, by electrical operating means, lead directly from the console to each sound device that is, not through a prepared constellatlon (P or By means of the free switches the player can switch on or oil units freely the contact scales provided for all the sound devices, and therefore can arrange his registration as desired.

Each free switch has as many switch contacts as the sound device belonging to it has fixed stages. The free switches can be operated by hand or foot.

If a sound device is already at a definite fixed stage during an adjusted total constellation, for instance if a swell box with 10 stages is fixed at stage 3, the stages 13 are ineffective for the free switch in question. The remaining stages 410 can be controlled freely by the player. Accordingly the fixed stages of each sound device form a variable Zero foundation according to the total constellation for the remaining free registration on the part of the player.

What I claim is:

1. An orchestral instrument having a plurality of keyboards each comprising a number of keys, a plurality of sound producing devices capable of being arranged in different groupings, each grouping having a diiferent tone quality, and a system of: re lays for each key, each relay of which when energized connects the key with a plurality of said groupings, the arrangement being suchthat when a plurality of keys are depressed simultaneously a different tone quality is produced by each key.

2. An orchestral instrument as claimed in claim 1, the arrangement being such that when a plurality of keys are depressed simultaneously each is connected to a single grouping, and no two keys are connected to the same grouping.

3. An orchestral instrument as claimed in claim 1, the arrangement being such that when a plurality of keys are depressed simultaneously each is connected to a different number of groupings.

4. An orchestral instrument as claimed in claim 1 having a plurality of blank switches, and a system of relays for each switch, the arrangement being such that when a switch is actuated it occupies a plurality of groupings and prevents said plurality of groupings being connected to a key for the production of sound.

5. An orchestral instrument as claimed in claim 1, and having free switches adapted to connect sound producing devices directly to the console, whereby the registration can be varied independently of the arrangement of the sound producing devices in groups.

HANS LUEDTKE. 

